Florence Peltier

There’s a point just past the halfway mark on “Shake It Out,” the rousing first single from Florence + the Machine's second studio release, when the swelling guitars, organs, and strings, staccato percussion, and Florence Welch's air-raid siren of a voice lock up in a herculean battle over which one is going to launch itself into the stratosphere first. It’s a contest that plays out at least once on each of Ceremonials' immaculately produced 12 tracks. Such carefully calculated moments of rhapsody would dissolve into redundant treacle in less capable hands, but Welch does emotional bombast better than any of her contemporaries, and when she wails into the black abyss above, the listener can’t help but return the call. Bigger and bolder than 2009’s excellent Lungs, Ceremonials rolls in like fog over the Thames, doling out a heavy-handed mix of Brit-pop-infused neo-soul anthems and lush, movie trailer-ready ballads that fuse the bluesy, electro-despair of Adele with the ornate, gothic melodrama of Kate Bush and Floodland-era Sisters of Mercy.

For this new instalment of their series devoted to British music of the eighteenth century, the musicians of La Rêveuse take us to London in the 1740s. The leading Italian and German virtuosos Handel invited to play in his orchestra brought a powerful wind of change to English musical life, while the Scot James Oswald achieved the tour de force of making the music of his country fashionable in the drawing rooms of London.

In the Seventeenth Century, Buxtehude and his contemporaries composed an innovative sacred repertory for solo voice, nurtured by Italian cantatas, rhetoric and drama, which brought renown to the Hanseatic cities of north Germany and inspired the young Bach.